Art and Design A comprehensive guide for creative artists - Aaltodoc

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A marking guide A marking guide leads the teacher to a genuine evaluation process. In art and design it differs many times. For the reason that, the learning objectives keep changing. Stoddart (2002, 7) offers a suggestion about the best course of action; “ask your teacher for a copy of the mark scheme and see how well you are able to apply it in your work. Check as you go along to see if there is any areas in which you think you need to improve.” Here is one example of a marking guide: Areas of assessment Using lines Aspects of form Composition Use of tones and shading Subject matter Total out of 100% Marks, out of 50 Scores ×2 Essentially, a marking guide is necessary for making a successful evaluation or estimation process during marking. It enables teachers to work out proper scores, to determine the set number of marks from a list of specified aims and objectives. Index A aesthetic 135, 224 African art 11 Alignment 41 animal 134, 141, 142, 165 antique ornaments 136 Areas of assessment 240 artistic 142, 160, 234 artwork 37, 131, 183, 203, 216, 218, 219 B balance 37, 145, 233 Balance 36, 94, 225 Bamboo 64, 68, 140, 149 Barack Obama 164 bark cloth 122, 134, 163 baskets 146, 147, 148, 150, 151 bead 138, 144 Binding 108, 249 black and white are not colours 29 blue 227 bristled brushes 68 C Calligraphy 234, 236 carrot and spinach leaves 169 ceramics 128 ceremonies 164, 165 chalk 46 Child Sacrifices 237 Clarity 19 cloth 73, 122, 128, 134, 147, 164, 165, 179 Commercial 68, 115, 248 complementary colours 29, 111 compose 111 composition 126, 145, 234 computer 229 Congo 163 Continuity 41 Continuous assessment 239 Croquis 54 crucifixion antiquities 135 culture 145 D Damboo 149 D.D.T powder or gammexine 74 digital 78, 108, 113, 115, 221, 228, 229 dole out 180 dust jacket or a sheath 109 E educate 126 Embossing 216 empathy 218 environment 121, 126, 132, 174, 182, 202 evaluation opinions 239 evaporation and shrinkage 206 examination room 232 F File or filing 143 Flag 235 flat colours 95 G Gesso 69 Ghana 165 goblet, chalice, (wine cup) 136 grass 148, 150 green 215, 227 group 164, 181, 223, 236 H hand building 213, 219 hardware 112, 228 Harmony 40 HB 44, 45 Health Care 237 Hemp 153, 166 honey, sugar, or local brew 67 human figure 52, 53 hyacinth 150, 151 hyphenation 84 I ideas 143, 220 illustrations 96 improvisation 65, 68 indigenous 147, 148 ink 86, 168, 169, 171, 234 Intermediate 31 interpretation 135 J jeweller 137, 138 jewels 130, 134 Jute 153 K kanzu 15 Kelp 153 kiln 200 knife and a needle 153 L learning objectives 14, 53, 72, 240 leaves 146, 149, 154, 165, 168, 169, 175 life drawing 48 light 180, 183, 207, 220, 223, 226, 227 light table 178 Line 24, 42, 93 linear 131 Luminosity 19 M Maito 238 Masai 147 model 56 Monogram 235 movement 37, 38, 183, 184 Movement 42 Mursi 134, 141 N NAADS 235 NATIONAL ENVIRONMENT MANAGEMENT AUTHORITY 236 National Tourism Authority 238 natural materials 168, 188 nature 47, 223 nature drawings of detailed 48 necklace 137, 144, 145 O oak 196 objective study 59 Oil kiln 200 Omo 141 Omo valley 134, 141 Open fire kiln 200 ornament 145 P paint 161, 168, 202 paper 47, 48, 53, 56, 58, 86, 87, 115, 116, 125, 131, 138, 140, 144, 161, 166, 168, 227, 228, 231, 238 patterns 142, 143, 157, 161, 165, 173, 177, 216 pen 181, 227, 234 pencil 45, 87 Perspective 34, 225 photography 221, 223, 224, 226, 228 plain weave 157 plate 48 pottery 131, 206, 207, 208, 210, 218, 219 Principles of design 34, 224 Proportion 39, 94 Proximity 41 240 241
Q quill feather 68 R raffia 148 red 227 regalia 142 registration marks 176, 177 relief 131, 169, 182, 185 religious 164, 182 repetition 39, 225 Resemblance 19 Rhythm 37, 42, 93 ritual 145, 182 S sculpture 182, 183, 185, 186, 187, 188, 202, 203 seed 165 Self-composed 19 shape 198, 199 Shape 22, 42, 93 shatter flap paper 228 Similarity 41 sketch 58, 131, 144, 179 sketchbook 45 slab 199 soak, sieve and sift 211 social 135, 182 source of inspiration 131, 174, 175, 181 Space 27, 224 spirit 184 still life 37, 47 stool 147 stoop 37 sturdy 110 T Tesserae 129 textile 165, 166, 173 Texture 28, 42, 93, 223 tool 136, 143, 154, 216 Tourism 238 tribal 147, 182, 237 U Uganda 146, 149, 163, 235 uniform 164, 212 Unity 40, 224 V Value 29 varied colours 116, 131 Variety 41 vital 56, 57, 82 Volume Four 239 W warp-faced weave 158 Waste mould 200 wax 128, 172, 179, 180, 187, 188 wonted people 134 wood 115, 124, 128, 134, 143, 146, 165, 169, 182, 185, 187, 188, 191, 196, 207, 215 worship 16, 134, 181 Y Youthfulness 19 Youth Project 235 Bibliography and references Books Arens, William & Weigold, Michael & Arens, Christian (2008). Contemporary Advertising, New York: Mac Graw-Hill Irwin. Arntson, Amy E (2011). Graphic Design Basics. USA: Wadsworth Ashwin, Clive (1982). Encyclopaedia of Drawing. Materials: Techniques and Style, Melbourne: Oxford University Press. Baker, Marilyn (1984). The Winnipeg School of Art: the early years, Canada: University of Manitoba Press Baldwin, John (1967). Contemporary Sculpture Techniques: Welding Metal and Fibreglass, New York: Reinhold Publishing Corporation. Bamberg, Matthew & Carson, Howard (2006). Digital Art Photography for Dummies, USA: Wiley publications. Barnard, Malcolm (2005). Graphic Design as Communication, New York: Routledge. Barrett, Terry (1999). Criticising Photographs: An Introduction To Understanding Images, California: Mayfield Publishing Company. Beittel, Kenneth. R (1989). Zen And The Art Of Pottery: Weatherhill. (Paperback) Belfer, Nancy (1992). Batik and tie dye techniques, New York: Dover Publications. Revised edition Bell, Quentin (1983). Techniques of Terracotta: A practical Hand Book, Southampton: Camelot Press Ltd. Bellamy andrew (2004). Systematic/subjective colour selection, ava publishing (UK) Ltd. Berman, Esme (1999). Berman's Art and Artists of South Africa: Historical survey of painting and graphic art, South Africa: Southern Book Publishers. Beveridge, William I. B (2004). The Art of Scientific Investigation, New York: Vintage Books, Blackburn Press. Bjørnard, Kristian & Lupton, Ellen (2008). Indie Publishing: How to Design and Produce Your Own Book, New York: Princeton Architectural Press. Blake, Wendon (1997). Acrylic Watercolor Painting, USA: Dover Publications; Revised edition Board, Niir (2002). Screen Printing Technology Hand Book. Delhi, INDIA: Asia Pacific Business Press Inc. (Paperback) Bongers, Frans & Parren, Marc P. E. & Traoré, Dossahua (2005). Forest Climbing Plants of West Africa: Diversity, Ecology and Management, Wallingford Oxfordshire, UK: CABI Publishing, CAB international Books Bradley, Barbara (2003). Drawing people: how to portray the clothed figure, USA: Ohio, North Light Books Brady, Philp (1993). Using Type Right: 121 Basic No-Nonsense Rules for Working With Type, USA: NTC/Contemporary Publishing Company. Buser, Thomas (2006). Experiencing art around, USA: Second Edition, Thomson Learning Cartwright, Wendy (2007). Weave, Australia: Murdoch Books Chandra, Rai Govind (1979). Indo-Greek jewellery, India: Abhinav Publications. Cheshire, Gerard (2006). Light and Colour, London: Evans Brothers limited. Chorzempa, Rosemary. A (1987). Design Your Own Coat of Arms: An Introduction to Heraldry, New York: Dover Publications Cohen, Elaine Pear & Gainer, Ruth Straus (1976). Art: Another Language for Learning, New York: Citation Press. Constable, W. G. (1955). The painter's workshop, London: Oxford University Press. Cotton, Charlotte (2009). The photographs as contemporary Art, London: Thames & Hudson. Crabtree, Susan & Beudert, Peter (1998). Scenic Art for the Theatre, History, Tools and Techniques, USA: Focal Press. Curtis, Gregoryn (2006). The Cave Painters; Probing the Mysteries of the World's First Artists, NY: Knopf. Curtis, Penelope (1999). Sculpture 1900-1945 (Oxford History of Art). Illustrated edition, USA: Oxford University Press, (Paperback) Dabner David et al. (2009). The New Graphic Design School: A Foundation Course in Principles and Practice, USA: Wiley publications (Paperback) Dahl, Carolyn A. (2004). Transforming fabric: 30 creative ways to paint, dye and pattern cloth, USA: Krause Publications Davison, Ralph C. (2007). Concrete Pottery and Garden Furniture, New York: Campbell Press 242 243
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and Design Art and deign Art and de
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Preface The goals of this book 1. T
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• Decorating fabrics with more th
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CHAPTER ONE Art and design Art and
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Several examples of geometric patte
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Architecture A basic example of the
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Elements of design A closer look at
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Inset: halftone dots obtained from
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Jung (2004, 139) remarks, “Of cou
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Principles of design Principles of
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Play. A painting with proposing act
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Exercise 1. By associating each ele
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d) Charcoal is good and it is an ab
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A lakeside Background landscape sho
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Vebell et al. (2005, 202) prefer a
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A study of a cow. In the profile vi
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Scanty waters. Acrylic painting Siz
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Liquids for painting The types of l
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Although it is sometimes necessary
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Trowell (1951, 27) shares a rationa
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Well as computers have dominated a
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Phillips (2004, 9) reminds us that
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m) In conclusion, on any outstandin
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Lowercase The lowercase alphabets a
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Proportion It can be used to work o
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Illustrations can be done as painti
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Logo Trade Marks Label Notice sign
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Michaels (2010) points out some “
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The ultimate goal of designing a bo
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A raised surface b) Intaglio printi
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d. Outdoor signs are the major visu
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A collage artwork Materials: Dry le
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Apart from that, excess glue can be
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A small section of a floor surface,
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A pendant of a necklace Materials:
Page 71 and 72: f. Needle/long nose pliers uses it'
Page 73 and 74: The aggressive conduct of these war
Page 75 and 76: CHAPTER NINE Weaving Weaving is the
Page 77 and 78: Here we see that through trials and
Page 79 and 80: . Yarn is for fabrics as straw and
Page 81 and 82: Tod (1977, 172) laments, “Cloth m
Page 83 and 84: Exercise 1. By using found material
Page 85 and 86: To simplify the discussion, let us
Page 87 and 88: Here is an itemised set of methods
Page 89 and 90: B A A: An already made tie-die fabr
Page 91 and 92: Start by preparing a separate scree
Page 93 and 94: CHAPTER ELEVEN They made “clay re
Page 95 and 96: Examples of inverse relief can be f
Page 97 and 98: Sometimes plaster of Paris is used
Page 99 and 100: Maquette A maquette is a translatio
Page 101 and 102: Rich(1998, 250) offers a reasonable
Page 103 and 104: “Welding equipment is largely use
Page 105 and 106: . Porosity of clay is determined by
Page 107 and 108: • A pottery artist needs enough e
Page 109 and 110: owl, a cup. In size and shape it wi
Page 111 and 112: Along with the left hand and add so
Page 113 and 114: • Photography can be used to depi
Page 115 and 116: Explanatory photographs Descriptive
Page 117 and 118: Here is how: • Film cameras were
Page 119 and 120: Crafts other than those detailed ab
Page 121: 2. In an area of 25cm by 30cm, desi
Page 125 and 126: Mills, John W (1990). The encyclopa
Page 127 and 128: 250 251
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